Académique Documents
Professionnel Documents
Culture Documents
( 1994)
A tinued to study the art, letters, and life of van Gogh and his ideas,
and owe to some colleagues valuable references to other clues for
interpreting van Gogh's art and thoughts. I have added the results of
these pointers and my later reflections to what I believe are valid addi
tions to the articles on van Gogh that Ipublished in 1940 and 1968.
I note my indebtedness in this revised text to the French periodical
Macula and its editor Yve-Alain Bois, now at Harvard University.
I have taken into account the article by Profesor Gadamer, a disci
ple of Heidegger, on Heidegger's changes in his late y ears, and two
hand-written corrections by him in the private copy of the margin of
one of his posthumous printed books that were noted by the editor of
Heidegger's collected works after the latter's death. I
The interpretation of van Gogh's painting in my article is support
ed not only by the texts and work of other artists and writers I have
cited but also by van Gogh's own spoken words about the significance
of the shoes in his life.
Gauguin, who spent a few months with van Gogh as his guest in
Aries in the fall of 1888, recorded in two somewhat different articles a
conversation at that time about van Gogh's shoes. The first is quoted
on p. 140 in this volume.
Another version of Gauguin's story is in a later article that he pub
lished with the title "Nature Mortes" (Still Lifes) in the periodical
Essais d'Art Libre after van Gogh's death:
beautiful colors, I adored red; where could one find a perfect vermilion? He,
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THEOR Y AND PHILOSOPHY OF ART
with his yellowish brush, traced on the wall which suddenly became violet:
"In my yellow-room-a small still life: violet that one. Two enormous wornout
misshapen shoes. They were Vincent's shoes. Those that he took one fine morning,
when they were new, for his journey on foot from Holland to Belgium. The young
preacher had just finished his theological studies in order to be a minister like his
father. He had gone off to the mines to those whom he called his brothers, such as
he had seen in the Bible, the oppressed simple laborers for the luxury of the rich.
believed in a Jesus who loved the poor; and his soul, deeply pervaded by charity,
sought the consoling words and sacrifice for the weak, and to combat the rich.
"His teaching of the Bible in the mines, 1 believed, profited the miners
below and was disagreeable to the high authorities above ground.· He was quick
ly recalled and dismissed, and the assembled family council, having decided he
was mad, recommended confinement for his health. However, he was not locked
"In the dark, black mine one day, chrome yellow overflowed, a terrible
fiery glow of damp-fire, the dynamite of the rich who don't lack just that. The
creatures who crawled at that moment grovelled in the filthy coal; they said
"One of them horribly mutilated, his face burnt, was picked up by Vincent.
'However,' said the company doctor, 'the man is done for, unless by a miracle,
or by very expensive motherly care. No, it's foolish to be concerned with him, to
was mad) sat up, keeping watch forty days, at the dying man's bedside.
Stubbornly he kept the air from getting into his wounds and paid for the medi
cines. A comforting priest (decidedly, he was mad). The patient talked. The
"When the injured man, finally saved, went down again to the mine to
resume his labors, 'You could have seen,' said Vincent, 'the martyred head of
Jesus, bearing on his brow the zigzags of the Crown of Thorns, the red scars of
144
FURTHER NOTES ON HEIDEGGER AND VAN GOGH
"'And I, Vincent, 1 painted him,' tracing with his yellow brush, suddenly
145
THEORY AND PHILOSOPHY OF ART
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FURTHER NOTES ON HEIDEGGER AND VAN GOGH
that image of his dilapidated shoes, the artist's tense attitude, which
governs his painting of other subjects at a later time-e.g. the self
probing portraits, one with his own heavily bandaged face (the result
of a self-inflicted wound of the left ear-lobe), his moods and memories
in confronting just those isolated personal objects-perhaps induced
the frank revelation of a morbid side of the artist's self There is then
in the work an expression of the self in bringing to view an occasion of
feeling that is unique in so far as it is engaged with the deviant and
absorbing deformed subject that underlies the unique metaphoric
paired shoes.
Van Gogh's frequent painting of paired shoes isolated from the
body and its costume as a whole may be compared to the importance
he gave in conversation to the idea of the shoe as a symbol of his life
long practice of walking, and an ideal of life as a pilgrimage, a perpetu
al change Qf experience.
Comparing van Gogh with other artists, one can say that few could
have chosen to devote an entire canvas to their own shoes in isolation,
yet addressed to a cultivated viewer. Hardly Manet, or Cezanne, or
Renoir, hardly his often cited model, Millet. And of these few-we can
judge from the examples-none would have represented the shoes as
van Gogh did-set on the ground facing the viewer, the loosened and
folded parts of shoes, the laces, the unsightly differences between parts
of the left and right, their depressed and broken aspect.
While attempting to define what "the equipmental being of equip
ment is in truth," Heidegger ignores what those shoes meant to the
painter van Gogh himself He finds in this signed, unique painting of
the shoes that the philosopher had chosen to consider as most signifi
cant a "peasant's wordless joy of having once more withstood want, the
trembling before the advent of birth and the shivering at the surround
ing menace of death....This equipment belongs to the earth (his italics)
and it is protected in the world of the peasant woman. From out of that
secured belonging, the equipment itself rises to its resting-in-itself"
as if these shoes were the ones worn by the supposed peasant woman
while at work in the fields. Heidegger even conjectures that his reader
could imagine himself wearing these old high leather shoes and "making
14 7
FlGcRE 1. Vincent van Gogh: Still Life with Open Bible, Candlestick, and Novel, 1885, oil on canvas,
25% x 30314", Vincent van Gogh Museum, Amsterdam.
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FURTHER NOTES ON HEIDEGGER AND VAN GOGH
his way homeward with his hoe on an evening in the late fall after the
last potato fires have died down." So the truth about these shoes was
not only of the poor peasant woman "trembling before the advent of
birth" and "the surrounding menace of death"-as if the artist's point
of view were impersonal, even in placing the isolated shoes befire him
unlaced and facing the viewer, without the context of the potato field or
the disarray of the laces.
Heidegger believes also that this truth is divined by him "without any
philosophical theory" and would not be disclosed by any actual pair of
peasant shoes alone, detached from the feet, as portrayed in a painting.
One misses in all this both a personal sense of the expression and
of van Gogh's feelings of "rejection" by his own parents and by his
learned teachers who had to come to doubt his fitness as a Christian
preacher and missionary. These breaks are familiar to readers of van
Gogh's biography and letters.
When one compares the painting with the one preceding it, of his
father's open Bible, its significance becomes clearer. In that large paint- FIG. I
ing with the marginal presence of the small paperback volume of Zola's
La Jaie de Vivre (a modest statement of van Gogh's contrasted alterna-
tive to the great massive Bible and exposed text of the opened Bible),
he acknowledges his respect for his deceased minister father and
alludes to his own Christian past, but also affirms his devotion to the
secular lessons of his admired living author. Unlike the perfectly legi-
ble printed title of Zola's book on its bright yellow cover, the religious
content of the massive open book is barely intimated in the few tiny
numerals (LUI) on the narrow band of the upper margin of the
exposed right leaf through the few Latin signs of its page and chapter
number and the barely visible ancient author's name ISAI.. .. But the
actual words of this great prophet are withheld from the viewer by the
thick, vehement overlay of van Gogh's opaque brush strokes on the
immovable massive book and the ironically covered text of those pages,
which concern the sacrifices and sufferings of the prophet Isaiah .
The meaning of these contrasts might be deciphered by an habitu
al scholarly reader of the sacred book, but will remain dosed to an
ordinary instructed viewer who has freed himself from the authority of
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THEORY AND PHILOSOPHY OF ART
his pious parents and church and can readily grasp the signficance of
the small paperback book with the familiar speaking title on the bright
sunny cover, La Joie de Vivre (The Joy of Living).8
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150
FURTHER NOTES ON HEIDEGGER AND VAN GOGH
J There is also thorough critical analysis of Hcidegger's philosophy in a latcr book by Jean Wahl
bearing on Heideggcr's idea of being, applied by Hcidegger to shoes and art. Sec]. Wahl, La Fin de
{'ontologie, 1956, and concluding pages.
2 Gauguin,P. Natures Morles, EISa;.' d'art libre, IV, January, 1894, pp. 273-275. These two excerpted
texts were kindly brought to my attention by Professor Mark Roskill.
5 Sec English translation of Jean Francois Millet, Peasant and Pain/er, Boston & N.Y., 1896, p.127.
6 Versamelde Brievetl, 1954, I: 322, 323; II:404; III:I4, 45, 85,151,328; IV: 32, )2.
7 Ibid.
8 Ironical, for in fact its story is not of the joys of family life, but of the constraints upon the idealistic
young members' dedication to a career in music, etc. Judy Sund writes (True to Temperament, van
Gogh and French Naturalist Litemture, pp. 109-113) that such novels had long been bones of con
tention between van Gogh and his father.
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